Louise tends her garden, 1927. Photo by Otto Dyar.

Louise in a portrait by Emil Bieber, Berlin, 1929.

Louise poses on the set of The Canary Murder Case (1929).

Tony: What did you just switch off?

#TheEconomyDrive #FridayNightWasHancockNight

Louise at home, 1927. Photo by Otto Dyar.

Louise as a sixteen-year-old member of the Denishawn School of Dance. Photo by the White Studio, New York 1923.

Louise’s passport photo, 1924. After being dismissed by the Denishawn dance company and fired from her brief sojourn at George White’s Scandals in NYC, she was headed to Paris with her friend Barbara Bennett, sister of Constance and Joan. They were both seventeen years old.

Louise in costume for Now We’re in the Air (1927). Photo by Eugene Robert Richee.

And in another shot, actor Carl Goetz, who plays the mysterious Schigolch in Pandora’s Box (1929), joins the group (L). Louise’s hair style may have been the one originally proposed by Pabst but he eventually went for her traditional bangs and bob look.

Louise and Kortner make nice for a photo. He became increasingly upset during production, complaining to Pabst about Louise’s untraditional acting style, late night partying and “lazy” Hollywood habits. Pabst welcomed Kortner’s animosity believing it helped define his film role.

Louise poses for a Pandora’s Box (1929) press photo with director G.W. Pabst (R) and actor Fritz Kortner (C). The unidentified man on the left may have been a Nero Film company executive.

John Wayne charms Louise in her final film Overland Stage Raiders (1938). The following year The Duke found his breakout role in John Ford’s Stagecoach (1939) and Louise left Hollywood forever.

Louise by George Hommel, 1927.

Louise in a soft focus photo for a British cigarette card, 1928-29.

Louise as imagined by contemporary French artist François Roca: “Le Journal d'une Fille Perdue” (Diary of a Lost Girl).

Doesn't time drag? Ooh I do hate Sundays. I'll be glad when it's over. It drives me up the wall just sitting here looking at you lot. Every Sunday is the same. Nowhere to go, nothing to do, just sit waiting here for the next lot of grub to come up!

Louise by Eugene Robert Richee. Paramount was experimenting with new hairstyles for her role as a Parisian escort in Evening Clothes (1927).

Louise in costume for A Girl in Every Port (1928). Photo by Max Munn Autrey.

Louise in her uncredited screen debut for The Street of Forgotten Men (1925).

From the trailer for White Cargo (1942).

Hedy Lamarr as the exotic native woman “Tondelayo” in White Cargo (1942). Photo by Clarence Sinclair Bull for MGM. (Thread)

Louise from It’s the Old Army Game (1926). A still that looks more like an illustration.

Louise in a still from Love ‘Em and Leave ‘Em (1926).

Louise by George Hommel, 1927.

Louise as Thymian awakens to find she’s been paid for her first night at the brothel. With Marfa Kassatskaya as the madam and “Speedy” Schlichter (R) in a still from Diary of a Lost Girl (1929).

Tony: It's a braw bricht moonlit nicht the nicht, there's a bonnie wee lassie oot there, hoots mon the noo

Dr: Would you mind sitting down Mr Hancock?

Tony: Apologies for the vernacular but the young lady did say that you were a Scottish gentleman!

Dr: We're not all Rob Roys

Louise models a “gown of crinkled gold cloth” for a photo by Eugene Robert Richee, 1928. Fashion Friday.

Louise Brooks and Thomas Meighan in a publicity still for the lost silent gangster movie THE CITY GONE WILD (1927)

The film was directed by James Cruze - BOTD in 1884

Of course, the trail of footprints in the snow made with a size 10 left footed shoe. That told him it was a small man who had put a big man's shoes on but didn't realise he'd put two left shoes on. Well I never thought of that. I've been waiting for 2 one-legged twins to turn up!

Louise by George Hommel, 1927.